Invoking the legacy of H.P. Lovecraft in fiction is 2017 is no easy task. On the one hand, you have his visionary take on horror, which remains influential to a host of writers; on the other, you have his loathsome racism that’s frequently inseparable from the stories he’s telling. A handful of nods to the Cthulhu Mythos in a story or novel can sometimes feel less like a warm homage and more of an oversight regarding the more noxious aspects of his body of work.
Some of the work that’s followed in Lovecraft’s footsteps hits many of the same terrifying beats, but opts for a very different sort of worldbuilding: expansive cosmic horror, but of a variety that isn’t beholden to a structure of racist or classist beliefs or spurious theories of racial or ethnic superiority. (I wrote about this in greater detail a few years ago.) Others opt for a different tactic: dealing head-on with Lovecraft’s racism while still finding a way to tap into the profoundly unsettling sense of horror and dread that he conveyed in his work. Last year, two of the most memorable cosmic horror books I read represented each camp: John Langan’s The Fisherman in the former, and Victor LaValle’s The Ballad of Black Tom in the latter.